Arrangement

"Arranger" and "Arranged" redirect here. For the independent film, see Arranged (film).

In music, an arrangement is a musical reconceptualization of a previously composed work. It may differ from the original work by means of reharmonization, melodic paraphrasing, orchestration, or development of the formal structure. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instruments for performance by an orchestra, concert band, or other musical ensemble. Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, and endings.... Arranging is the art of giving an existing melody musical variety".[1]

Popular music recordings often include parts for brass, string, and other instruments which were added by arrangers and not composed by the original songwriters. Popular music arrangements may also be considered to include new releases of existing songs with a new musical treatment. These changes can include alterations to tempo, meter, key, instrumentation, and other musical elements.

Arrangements for small jazz combos are usually informal, minimal, and uncredited. Larger ensembles generally have had greater requirements for notated arrangements, though the early Count Basiebig band is known for its many head arrangements, so called because they were worked out by the players themselves, memorized (in the player's head), and never written down.[10] Most arrangements for big bands, however, were written down and credited to a specific arranger, as with arrangements by Sammy Nestico and Neal Hefti for Count Basie's later big bands.[11]

Don Redman made innovations in jazz arranging as a part of Fletcher Henderson's orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and soli performances for various sections of the big band.[12]Benny Carter became Henderson's primary arranger in the early 30's, becoming known for his arranging abilities in addition to his previous recognition as a performer.[12] Beginning in 1938, Billy Strayhorn became an arranger of great renown for the Duke Ellington orchestra. Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pick-up" bands to perform his compositions.

Big band arrangements are informally called charts. In the swing era they were usually either arrangements of popular songs or they were entirely new compositions.[13]Duke Ellington's and Billy Strayhorn's arrangements for the Duke Ellington big band were usually new compositions, and some of Eddie Sauter's arrangements for the Benny Goodman band and Artie Shaw's arrangements for his own band were new compositions as well. It became more common to arrange sketchy jazz combo compositions for big band after the bop era.[14]

The string section is a body of instruments composed of various stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins, violas, cellos, and double basses. The string section in a multi-sectioned orchestra is referred sometimes to as the "string choir."[16]

The harp is also a stringed instrument, but is not a member of or homogeneous with the violin family and is not considered part of the string choir. Samuel Adler classifies the harp as a plucked string instrument in the same category as the guitar (acoustic or electric), mandolin, banjo, or zither.[17] Like the harp these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section. The electric string bass and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or rhythm section instruments.[18]

A group of instruments in which each member plays a unique part—rather than playing in unison with other like instruments—is referred to as a chamber ensemble.[19] A chamber ensemble made up entirely of strings of the violin family is referred to by its size. A string trio consists of three players, a string quartet four, a string quintet five, and so on.

In most circumstances the string section is treated by the arranger as one homogeneous unit and its members are required to play preconceived material rather than improvise.

A string section can be utilized on its own (this is referred to as a string orchestra)[20] or in conjunction with any of the other instrumental sections. More than one string orchestra can be utilized.

A standard string section (vln., vln 2., vla., vcl, cb.) with each section playing unison allows the arranger to create a five-part texture. Often an arranger will divide each violin section in half or thirds to achieve a denser texture. It is possible to carry this division to its logical extreme in which each member of the string section plays his or her own unique part.

Artistic, budgetary and logistical concerns will determine the size and instrumentation of a string section. The BroadwaymusicalWest Side Story, in 1957, was booked into the Winter Garden theater; composer Leonard Bernstein disliked the playing of "house" viola players he would have to use there, and so he chose to leave them out of the show's instrumentation; a benefit was the creation of more space in the pit for an expanded percussion section.[21]

George Martin, producer and arranger for The Beatles, warns arrangers about the intonation issues when only two like instruments play in unison. "After a string quartet," Martin explains, "I do not think there is a satisfactory sound for strings until one has at least three players on each line...as a rule two stringed instruments together create a slight "beat" which does not give a smooth sound."[22]

While any combination and number of string instruments is possible in a section, a traditional string section sound is achieved with a violin-heavy balance of instruments.

Kidd, Jim (1987). Unsung Heroes, the Jazz Arrangers, from Don Redman to Sy Oliver: [text with recorded examples for a presentation] Prepared on the Occasion of the 16th Annual Canadian Collectors' Congress, 25 April 1987, Toronto, Ont. Toronto: Canadian Collectors' Congress. Photo-reproduced text ([6] leaves) with audiocassette of recorded illustrative musical examples.